BILL BARES and JONATHAN SCALES Appearing Mon Jun 2nd 2014 at 7:30pm








TICKETS         $12 ($6 Students)



Since opening its doors five years ago the White Horse Black Mountain has given jazz a prominent place in its eclectic music offerings. Our newest offering is a monthly series called "Take Two" featuring Bill Bares on piano and a variety of the region's top jazz musicians sharing the stage with Bill in duet format.  This month we present Dr Bill Bares on piano and Jonathan Scales on Steel Pans


ABOUT JONATHAN SCALES

 Scales is to steel pans ….what Bela Fleck is to the banjo—an über innovator." The group is said to have "a Thelonius Monk-like attitude with a Mozart creativity that works."
Driftwood Magazine says "

The steel drum is an instrument usually associated with music that comes out of the islands. (After all, it is the official instrument of the Republic of Trinidad and Tobago.)   Instead of using steel drums for Caribbean rhythms,  Jonathan Scales uses them to create progressive jazz music

“I just happened to write music that I was feeling, from my experiences listening – you know, listening to classical music, listening to traditional jazz, listening to progressive jazz of the ’70s, you know. There was really cool jazz in the ’70s, like Mahavishnu Orchestra and Weather Report and Return to Forever and bands like that.”

Scales was born in San Francisco, California and was raised in a military family, spending time in Maryland, Virginia, Fort Bragg, and Germany before settling in North Carolina around the age of fifteen. A saxophonist since high school, Scales took up the steelpan in 2002 and fell in love with the sound of the instrument. Scales enrolled at Appalachian State University in 2002, and after graduating, formed the jazz fusion quartet Jonathan Scales Fourchestra.
Click HERE to visit the Jonathan Scales website


ABOUT BILL BARES

Dr. William Bares holds a Bachelor of Arts degree from Amherst College, a Masters degree in Jazz Performance from the University of Miami, and a Ph.D. in ethnomusicology from Harvard University, where he studied with Ingrid Monson, the Quincy Jones Professor of African American Music. Bares spent ten years performing and researching jazz in Europe, and his book Eternal Triangle: American Jazz in European Postmodern is forthcoming with Oxford University Press. Other research interests include jazz and race, and music and environmental issues. Before coming to UNC Asheville, Bares taught at several Boston-based schools, including Harvard University, Brown University, Suffolk University, the New England Conservatory and Berklee College of Music.
After years of additional study and gigging in major jazz centers, Bares and family landed in Asheville, where he and his wife both teach at UNCA. In addition to his teaching, Bares keeps up a busy and varied performance schedule with jazz ensembles of myriad configurations and styles.

ARTIST WEBSITE




ABOUT THE CONCERT SERIES

The "Take Two" Concert Series at White Horse focuses on duets featuring pianist Bill Bares and a rotating cast of the FIRST CLASS regional musicians on their respective instruments. Concerts in the series will take place on the first Monday of each month at 7:30pm. You'll hear a wide variety of unique and amazing music so be sure to mark your calendars for these upcoming concerts in the series.
  • Mar 3 Bill Bares (piano / Jason DeCristofaro (vibraphone)
  • Apr 7 Bill Bares (piano / Rockell Scott (vocals)
  • May 5 Bill Bares (piano / Michael Jefry Stevens (piano)  ** Postponed **
  • Jun 2 Bill Bares (piano / Jonathan Scales (steel drums)
  • July 7 Bill Bares (piano / Billy Cardine (dobro)
  • Aug 4 Bill Bares (pianos / Andy Page (bass)
  • Sept 1 Bill Bares (piano / tba
  • Oct 6 Bill Bares (piano / tba
  • Nov 3 Bill Bares (piano / Lyndsay Pruett (violin)
  • Dec 1 Bill Bares (pianos / tba

From Dr Bill Bares:
First of all, I love the sound and feel of their piano. Second, I felt that a series that puts WNC's A-list jazz musicians out front, alone, with just piano accompaniment, would spotlight their individual artistry in a valuable way. We plan on recording performances and releasing them as a series patterned after Concord's "Live at Maybeck" piano series.
Last, I thought that holding such a series on a Monday at 7:30 would make it noncompetitive with other jazz offerings in the area. That time slot sends the message: "it's all about the music," which I am confident you will find phenomenal. For the roster I have selected area musicians (one different instrument each month) with substantial fan base, individuality and with whom I have a good rapport. I am looking forward to widening this circle in subsequent years.